Words for Writers: The Story of How I Started Selling Stories

Improbable Press put out a call asking fan fiction authors how they went from Free to Fee. Here’s my response. Happy reading!

My parents, teachers, and acting/singing coaches will all tell you that I’ve always been a story teller. For the first twenty four years of my life, I was determined to do so through musical theatre, though I had always secretly harbored the desire to write a hit stage play. My early writing consisted of plays for my friends and I to put on, interspersed with prose that I supposed would one day become a novel, but which wasn’t my passion.

I was a big reader, but where this habit came from, I’m not certain. While my mother always had a book on the go – whatever crumbling paperback law thriller or murder mystery she’d been handed by the woman down the street when she was done it, which was then passed on to the next neighbor – my father and brothers preferred sports (either on TV or outside in the yard) over reading. I stumbled into fantasy and science fiction because Wil Wheaton was hot, and his show was on every Friday night, and from there I consumed every Star Trek tie-in novel my tiny rural library carried, then started following the authors of the novels into their other worlds and series.

So you won’t be surprised to learn that this was how I found fan fiction for the first time. My “I love this, gee, I wonder what else there is?” muscle was well developed by junior high, and before the internet had come to The Middle Of Nowhere Rural Ontario, I had already gotten quite adept at search keywords and codexes to track down more books to consume.  Imagine my shock and joy when, in the middle of my Phantom of the Opera phase (come on, fess up, you had one too), the internet in my school library told me about not only Fredrick Forsyth and Susan Kay’s stunning re-tellings, but of something called fan fiction.

I wasted a lot of the librarian’s ink and paper printing out these books and secreting them into binders and pretending to do school work at my desk or backstage between scenes. A lot. And yes, I still have most of them.

And as we all well know, the jump between reading and writing is a short when one is submerged so fully in communities of creators. Everyone else’s “What If” rubs off on you, and it’s just a matter of time before you find yourself playing with the idea of coaxing a few plot bunnies over to spend some time with you. Not everyone loves to write, but gosh darn it, if you want to give it a try, then you couldn’t ask for a better, more supportive community. It doesn’t matter how new you are to it, everyone reads, everyone comments, everyone makes suggestions. People beta read. People edit. People co-write. People cheer, and support, and recommend, and enthuse. Yeah, there are the occasional jerks, flammers, and wank-mongers, but on the whole? There’s literally no better place to learn how to be a writer than in fandom, I firmly believe this.

So, of course, born storyteller that I am, I had to give it a try.

I started writing fan fiction in 1991 for a small, relatively obscure Canadian/Luxembourg co-pro children’s show called Dracula: the Series.  I used to get up and watch it on Saturday mornings, in my PJs, before heading off to whichever rehearsal or read through or practice I had that year.

1995 brought the English dub of Sailor Moon to my life, (and put me on the path to voice acting), and along with a high-school friend, I wrote, printed out, illustrated, and bound my first “book” – a self-insert story that was just over eleven pages long, which introduced new Scouts based on us.  From there, I didn’t really stop.

1996 led me to Forever Knight and Dragon Ball Z, and from there to my friend’s basement where they’d just installed the internet. We chatted with strangers on ICQ, joined Yahoo!Groups and Bravenet Chat Boards. (Incidentally, a friend from my DBZ chat group turned out to be a huge DtS fan, too. We wrote a big crossover together which is probably only accessible on the Wayback Machine now. We stayed friends, helped each other through this writing thing, and now she’s Ruthanne Reid, author of the popular Among the Mythos series.)  In 2000 I got a account and never looked back.

In 2001, while in my first year of university for Dramatic Arts, I made my first Real Live fandom friends. We wrote epic-length self-insert fics in Harry Potter and Fushigi Yuugi, cosplayed at conventions (sometimes using the on-campus wardrobe department’s terrifyingly ancient serger), and made fan art and comics in our sketchbooks around studying for our finals and writing essays on critical theory or classical Latin.  I was explaining the plot of the next big fic I was going to write to one of them, an older girl who had been my T.A. but loved Interview with the Vampire just as dearly as I, when she said, “You know, this sounds really interesting. Why don’t you strip all the fandom stuff out of the story and just write it as a novel?”

You can do that? was my first thought.

No! I don’t want to! Writing is my fun hobby. What will happen if I try to be a writer and get rejected by everyone and I end up hating it? was my second.

But the seed was planted.  Slowly at first, and then at increasingly obsessive pace, I began writing my first novel around an undergrad thesis,  fourth-year  essays,  several other big fanfics that popped me into the cusp of BNF status but never quite over the tine, and then a move to Japan to teach English. From 2002-2007 I wrote about 300 000 words on the novel that I would eventually shut away in my desk drawer and ignore until I published on Wattpad under my pseudonym on a lark. It was messy. It was long. It was self-indulgent and blatantly inspired by Master of Mosquiton, Interview with the Vampire, Forever Knight, and anything written by Tanya Huff, Laurell K. Hamilton, and Charlaine Harris. This was fine for fanfic, but in terms of being comfortable with presenting it to agents and publishing houses, I felt that it wasn’t original enough.

By this time I was teaching overseas, and in my spare time (and boy, was there a lot of spare time while sitting in a Japanese teacher’s office for 40 hours per week when one only actually teaches for 11 of them) I started applying to MA programs (where I eventually wrote my thesis on Mary Sue Fan Fiction). I also spent it researching “How to Get Published”, mostly by Googling it and/or buy/reading the few books on the topic in English I could find at the local book store or order from the just-then-gaining-international traction online bookstore Amazon.

What that research mostly told me was “Write and sell a bunch of short fiction first, so you have proof that a) you can do the work and b) you can finish what you promise you’ll finish and c) you have proof that other people think you’re worth spending money on.”

Short fiction. Huh. Of course we’d studied short stories in school, and I’d even taken a short story writing class in university, though nothing I’d written for the class was indicative of the kinds of stories I preferred to tell. But I felt pretty confident about this whole writing short stories thing… after all, I’d been doing weekly challenges for years. Drabbles. Flashfic. Stories and chapters that were limited to the word count cap that LiveJournal put on its posts. I’d written novellas without knowing that’s what they were called; I’d written whole novels about other people’s characters. All I needed was an idea. Short fiction I could do.

Unfortunately, everything that came to me was fanfic inspired. It frustrated me, because I didn’t want to write a serial-numbers-filed-off story. I wanted to write something original and epic and inspiring. Something just mine. I started and stopped a lot of stories in 2006-2007. I’d been doing NaNoWriMo for years by then, having been introduced to it in undergrad, and I was determined that this would be the year that I wrote something I could shop. Something just mine. Something unique.

While I adored fanfiction, I was convinced that I couldn’t make a career on it.  What had once been a fun hobby soon because a source of torment. Why could I think of a hundred ways to write a meet-cute between my favorite ships, but come up utterly blank when it came to something new and original and just mine?

It took me a while to realize that my playwriting and short story teachers had been correct when they said that there are no original stories in the world, no way you can tell a tale that someone else hasn’t already tried. The “Man vs.” list exists for a reason.

The unique part isn’t your story, it’s your voice. Your lived life, your experiences, your way of forming images and structuring sentences. Your choices about who the narrator character is, and what the POV will be, and how the characters handle the conflict. In that way, every piece of writing ever done is individual and unique, even the fanfic. Because nobody is going to portray that character’s quirk or speech pattern quite like you do, nobody is going to structure your plot or your imagery like you. Because there is only one of you. Only one of me. Even if we’re all writing fanfiction, no one’s story sounds like anyone else’s,  or is told like anyone else’s.

That is the reality of being a storyteller.

And strangely enough, the woman who opened my eyes to this was a psychic from a psychic fair I attended, who told me that Mark Twain was standing over her shoulder admonishing me to stop fretting and just get something on the page – but to never forget character. My strength, she said that he said, was in creating memorable, well written, well rounded characters. And that my book should focus on that above concerns of plot or pacing.

Well, okay. If Mark Twain says that’s what my strength is, then that’s what my strength is, right? Who am I to argue with the ghost of Mark Freaking Twain?

An accident with a bike and a car on a rice patty left me immobile for six weeks in 2006, and I decided that if I was finally going to write this original short story to sell – especially since I would need income, as the accident made it obvious that I would never be able to dance professionally, and probably would never be able to tread the boards in musicals – now was the perfect time. I was going to stop fighting my fannish training and write.

I cherry picked and combined my favorite aspects of Doctor Who, Stargate: Atlantis, Torchwood, The Farm Show/The Drawer Boy, and my own melancholy experiences with culture shock and liminal-living in a foreign culture, and wrote a novella titled (Back). It was a character study of a woman named Evvie who, through an accident of time travel, meets the future version of her infant daughter Gwen. And realizes she doesn’t like the woman her daughter will become. It was a story about accepting people for who they are, instead of who you wish they would be, and had a strong undercurrent of the turbulence I was going through in trying to figure out my own sexuality and that I wouldn’t have the future in performance that I had been working toward since I was four.

Deciding that I would worry about where I would try to publish the story after it had been written, I sat down and wrote what ended up being (at least for me) a pretty standard-length fanfic: 18,762 words. It was only after I had finished the story that I looked up what category that put it in – Novella. Using paying  reputable markets, like Duotrope, the Writer’s Digest, MSFV, Absolute Write, SFWA, my local Writer’s Union, Writer Beware, I realized that I had shot myself in the foot.

It seems like nearly nobody publishes novellas anymore. SF/F and Literary Fiction seem to be the last two bastions of the novella, and the competition to get one published is fierce.  The markets that accepted SF/F novellas was vanishingly thin I had to do a lot of Googling and digging to figure out who I could submit to with an unagented/unsolicited SF/F novella. If I recall correctly, it was only about ten publications. I built an excel database and filled it with all the info I found.

I put together a query letter and sent it off using my database to guide me. Most of the rejections were kind, and said that the story was good, just too long/too short/ too sci-fi-y/not sci-fi-y enough. Only one market offered on it – for $10 USD. Beggers couldn’t be choosers, even if I had hoped to make a little more than ten bucks, and I accepted.

It was a paid professional publication, and that’s what mattered to me. I had the first entry on my bibliography, and something to point to in my query letters to prove that I was a worthy investment for a publisher/agent.

And energized by this, and now aware that length really does matter, even in online-only publications, I started writing other shorts to pad out my bibliography more.

I tried to tailor these ones to what my research told me the “mainstream industry” and “mainstream audiences” wanted, and those stories? Those were shot down one after the other. I was still writing fanfiction at the time, too, and those stories were doing well, getting lots of positive feedback, so why weren’t my stories?

In 2007 I returned to Canada and Academia, frustrated by my lack of sales, desperate to kick off my publishing career, and feeling a creative void left by having to depart theatre because of my new difficulties walking. I wrote my MA, and decided that if (Back) was the only original story that people liked, then I’d try to expand it into a novel.

Over the course of two years I did my coursework, and  read everything there was to read about how to get a book deal, started hanging out in writer’s/author’s groups in Toronto and met some great people who were willing to guide me, and expanded (Back) into the novel Triptych. I kept reminding myself what Mark Twain said – character was my strength, the ability to make the kind of people that other writers wanted to write stories about, a skill I’d honed while writing fanfic. Because that’s what we do, isn’t it? Sure, we write fix-its and AUs and fusions and finish cancelled shows, and fill in missing scenes, but what we’re all really doing is playing with characters, isn’t it? Characters draw us to fanfic, and characters keep us there. Characters is what we specialize in.

Fanfic had taught me to work with a beta reader, so I started asking my fic betas if they’d like a go at my original novel. Fellow fanfic writers, can I just say how valuable editors and beta readers in the community are? These are people who do something that I’ve paid a professional editor thousands of dollars to do for free out of sheer love. Treasure your beta readers, folks. Really.

“It reminds me a lot of fan fiction,” one reader said. “The intense attention to character and their inner life, and the way that the worldbuilding isn’t dumped but sprinkled in an instance at a time, like, you know, a really good AU. I love it.”

Dear Lord. I couldn’t have written a better recommendation or a more flattering description if I’d tried. Mark Twain was right, it seems. And fanfic was the training ground, for me – my apprenticeship in storytelling.

Of course… what Mr. Twain hadn’t explained is that character-study novels just don’t sell in SF/F. They say Harry Potter was rejected twelve times? HA. I shopped Triptych to both agents and small presses who didn’t require you to have an agent to publish with them, and I got 64 rejections. Take that, J.K.

At first the rejection letters were forms and photocopied “no thanks” slips. But every time I got feedback from a publisher or agent, I took it to heart, adjusted the manuscript, edited, tweaked, tweaked, tweaked. Eventually, the rejections started to get more personal. “I loved this character, but I don’t know how to sell this book.” And “I really enjoyed the read, but it doesn’t really fit the rest of our catalogue.” And “What if you rewrote the novel to be about the action event that happens before the book even starts, instead of focusing solely on the emotional aftermath?”

In other words – “Stop writing fanfiction.” There seemed to be a huge disconnect between what the readership wanted and what the publishing world thought they wanted.

Disheartened, frustrated, and wondering if I was going to have to give up on my dreams of being a professional creative, I attended Ad Astra, a convention in Toronto, in 2009. At a room party, complaining to my author friends that “nobody wanted my gay alien threesome book!” a woman I didn’t know asked me about the novel. We chatted, and it turned out she was the acquisitions editor for Dragon Moon Press, and incidentally, also a fan of fan fiction.

I sent her Triptych. She rejected it. I asked why. She gave me a laundry list of reasons. I said, “If I can address these issues and rewrite it, would you be willing to look at it again?” She said yes. She was certain, however, that I wouldn’t be able to fix it. I spent the summer rewriting – while making sure to stay true to my original tone of the novel, and writing a character-study fanfiction. I sent it in the fall. I do believe it was Christmas eve when I received the offer of publication.

From there, my little fic-inspired novel was nominated for two Lambda Literary Awards and a CBC Bookie, was named one of the best books of 2011 by the Advocate, and garnered a starred review and a place on the Best Books Of The Year at Publishers Weekly.

The award nominations led me to an agent, and further contracts, and even conversations with studio execs. It also made me the target of Requires Only That You Hate, and other cranky, horrible reviewers. But you know what? I’ve had worse on a forum, and on ff.n, and LJ. It sucked, and it hurt, but if there’s one thing fandom has taught me, it’s that not everyone is going to love what you do, and not everyone interprets things the same way you do. The only thing we can do is learn from the critique if it’s valid and thoughtful, and ignore the screaming hate and bullying. Then you pick yourself up, brush yourself off, and go write something else.

Because a screaming hater? Is not going to ruin my love of storytelling.

But for all that… the day someone made me fan art based on Triptych is one etched in my memory. It means far more to me than any of the emails I ever received inquiring about representation or film rights, or wanting meetings to discuss series.

The lesson I learned from publishing Triptych  – now sadly out of print, but we’re looking for a new home for it – is that if I chase what the “mainstream” and the “industry” want, I’ll never write anything that sells because my heart won’t be in it. I have to keep writing like a fanficcer, even if I’m not writing fanfic, if I want to create something that resonates with people. And if it takes time for the publishers and acquiring editors to figure out what I’m doing, and how to sell it, then fine – I have an agent on my side now, and a small growing number of supporters, readers, and editors who love what I do.

Do I still write fanfic? Very, very rarely. I’ve had some pretty demanding contracts and deadlines in the last two years, so I’ve had to pare down my writing to only what’s needed to fulfill my obligations. Doesn’t mean I don’t have ideas for fics constantly.

Sometimes the urge is powerful enough that I do give into it – I wrote To A Stranger, based on Mad Lori’s Performance in a Leading Role Sherlock AU recently, when I should have been writing the second and third novels of The Accidental Turn Series. And even more recently, I cleaned up To A Stranger  into something resembling a real screenplay and started shopping it around to film festivals and producers because I love this story, I love what I did with it, and I’m proud of the work. If To A Stranger is only ever a fanfic, that’s fine with me. I poured my heart into it and am so proud of it. But I figure that if there’s one more project I could possibly get into the real world, then why not go for it?

The worst thing the festival heads and producers can say about the work is: “No, thank you.” And being an online writer has taught me not to take the “no, thank you”s personally. Applying the values of Don’t Like Don’t Read or Not My Kink to your publication/agent search makes it much easier to handle the rejections – not every story is for every person.

Maybe once every producer in North America has rejected it, I might think about working with someone to adapt the screenplay into an illustrated comic fanbook? Who knows?

That’s the joy of starting out as a writer in fandom – felixibility, adaptability, creative problem-solving and cross-platform storytelling comes as naturally as breathing to us fan writers. It’s what we do.

You may not think that this is a strength, but trust me, it is. I was never so shocked at an author’s meetup as when I suggested to someone that their “writer’s block” sounded to me like they were telling the story in the wrong format. “I think this is a comic, not a novel,” I’d said. “It sounds so visual. That’s why the story is resisting you.” And they stared at me like I suddenly had an extra head and said, “But I’m a novelist.” I said, “No, you’re a writer. Try it.” They never did, as far as I know, and they never finished that book, either.

As fans, our strength isn’t just in what we write, or how we come to our stories. It’s also about the physical practice of writing, too. We’re a group of people who have learned to carry notebooks, squeeze in a few hundred words between classes, or when the baby is napping, or during our lunch breaks, or on commute home. This is our hobby, we fit it in around our lives and jobs, and that has taught us the importance of just making time.

We are, on average, more dedicated and constant writers than some of the “novelists” that I’ve met: the folks who wait for inspiration to strike, who quit their day jobs in pursuit of some lofty ideal of having an office and drinking whiskey and walking the quay and waiting for madam muse to grace them, who throw themselves at MFAs and writing retreats, as if it’s the attendance that makes them writers and not the work of it.

We fans are career writers. We don’t wait for inspiration to come to us, we chase it down with a butterfly net. We write when and where we can. More than that, we finish things. (Or we have the good sense to know when to abandon something that isn’t working.) We write to deadlines. Self-imposed ones, even.

We write 5k on a weekend for fun, and think NaNoWriMo’s 50k goal and 1667 words per day are a walk in the park. (When I know it terrifies some of the best-selling published authors I hang out with.) Or if we fans don’t write fast, then we know that slow and steady works too, and we’re willing to stick it out until our story is finished, even if it takes years of weekly updates to do so. We have patience, and perseverance, and passion.

This is what being a fanfiction writer has given me. Not only a career as a writer, but tools and a skill-set to write work that other people think is work awarding, adapting, and promoting. And the courage to stick to my guns when it comes to telling the kinds of stories that I want to tell.

This is what being a fanfiction writer gives us.

Aren’t we lucky, fellow fans? Hasn’t our training been spectacular?


J.M. (@scifrey) is a SF/F author, and professional smartypants on AMI Audio’s Live From Studio 5. She’s appeared in podcasts, documentaries, and on television to discuss all things geeky through the lens of academia. Her debut novel TRIPTYCH was nominated for two Lambda Literary Awards,  nominated for a 2011 CBC Bookie, was named one of The Advocate’s Best Overlooked Books of 2011, and garnered both a starred review and a place among the Best Books of 2011 from Publishers Weekly. Her sophomore novel, an epic-length feminist meta-fantasy THE UNTOLD TALE (Accidental Turn Series #1), debuted to acclaim in 2015 and was followed by THE FORGOTTEN TALE (Accidental Turn Series #2) this past December. FF.N | LJ |AO3| Books | Tumblr



For more posts on the business and craft of writing, search my Words for Writers tag.

JM FreyWords for Writers: The Story of How I Started Selling Stories
Read more

Questions from Fans – TRIPTYCH

Afternoon, Nerdlings!

One of my FAVOURITE things as an author is when I learn that readers are SO INVESTED in my work that they are just bursting with questions about it.

I got a really interesting, in-depth set of questions from Red Dog Reid about Triptych, and with their permission, I am posting my answers (and their responses to my questions!)


  1. How tall is Kalp? What is the height range for his species?

Kalp’s around six and a half feet tall; he’s a little runtish for his people, who can get to upwards of nine feet.

 It’s probably pretty weird, then, since Kalp was short on his planet, for him to suddenly be tall. I know that feel. I’m 5’3 and was a stilt walker in a parade once; it’s quite an experience!

Yes, it must have been! Just one more thing to throw him off on Earth. He was frightened that he would accidentally crush a tiny human child quite often.


  1. What actors would you pick to play your characters if it was made into a movie?

Funny you should ask that; I just did a guest blog post about that elsewhere.

I like those picks. I wonder at Basil’s actor, though. He’s not pudgy at all (and can I say I love that you have a pudgy main character!), and a bit young, yes? But definitely a good actor!

Oh, I bet Colin Morgan would love the opportunity to eat a lot of fried foods! Originally I had Canadian actor David Hewlett in mind for Basil (inspired by his characters in Nothing and Stargate), but unfortunately if the film was to be made now, he’s aged out of Basil’s age range.

And yes, it’s important to me as well that I represent real people with realistic bodies in my novels. Perhaps not as important as it is in visual mediums like TV, film, and comics, but to have people with normal bodies –  or bodies the best suited to their occupations – means a lot to me.

Basil lives a very sedentary life, and even his childhood hobbies meant he spent a lot of time sitting around, so he is pudgy. Gwen grew up on a farm, doing chores and running through fields, so she isn’t pudgy, though she isn’t a svelte unrealistic model either. In one of my upcoming books The Skylark’s Song, my female MC is skinny and her upperbody musculature is on par with a body builder’s because she spends all her time hauling machine parts in a city under severe rationing.


  1. Would you ever want to turn this into a movie? What about a sort of three-part series of long episodes/short movies? Tv show? (if a show would work somehow; not sure if it would with the format and all.)


Yes, I would love to see a dramatic adaptation of “Triptych”, though I think the complexity of the story would be better served as a miniseries rather than a feature film. There was some interest from a few companies, but it never ended up panning out. Of course, I’d love to see Starz, HBO, SPACE, SyFy or Showcase pick it up.  Also, I don’t think there’s enough story in the book to stretch it out into a full multi-season TV series, but then again, someone with a great idea might prove me wrong.

But of course, an author, unless they work in or have ties to the television industry, doesn’t have much control over whether a book gets optioned for a dramatic adaptation. A producer/screenwriter/director first has to take an interest, and pitch it to their team, get approval and funding, option the rights from me, and then they make the show/film. I might be consulted, or ask to come on board a story consultant, or even be invited to write some of it. Or the production house may choose to keep me out of the production entirely. It’s their call, I have no say in that outside of whether I would agree to licence the rights to option my intellectual property, and if an invitation to participate is extended to me, whether I’ll take it or not.

(Unless I have a spare five million bucks hanging around and choose to executive produce it myself.)

I would love to see this made into a three-part series! By the way, you don’t happen to ever have made/thought about making anything in the way of merch? Posters or the like? (I ask because I’m saving up to open a bakery in Eugene, Oregon within the next three years, and I intend to have a book-trade/library area with book posters, and would love to put Triptych up! Or, with your permission, blow up the cover image and frame it?)

Oh, yeah! Definitely a three part series, each of them 90mins, like Sherlock? That’d be really swell. I think that would serve the narrative very well, especially if each episode was told from a single POV, like the book’s sections.

In terms of merch, that’s a bit more tricky. See, I don’t own the cover art. The publisher commissioned the cover art. It’s understood that I can use it in my marketing efforts – on postcards and bookmarks I bring to conventions, or on my website, or on things I give away for free – but to actually make money on the cover, to put it on teeshirts and posters and the like and sell those, I would need my publisher’s permission and a contract regarding licensing rights and who gets how much of the profit.

I haven’t discussed this with my publisher because it’s a small press, and I’m still a small author, and it’s a relatively unknown novel. The amount of money made on the merch probably wouldn’t offset the price of setting up the online store, or the bother of doing said paperwork. It’s probably not an attractive option for them.

Having said that, you never know until you ask, so contacting my publisher and expressing an interest in having the cover design available on their Zazzle store couldn’t hurt! And while you’re at it, I’m sure if you asked the publisher would let you know what they feel about letting you create a big poster for your store. I’m sure they’d probably have no problem with it.

And man, from my perspective? That is DARN cool and an honor. I’d love you to do it.


  1. What Earth language do you think is closest to Kalp’s language?

I’ve never really thought of it. Something lyrical, with a lot of glottal stops, I think. Funnily enough, considering that Basil is from Wales… maybe Welsh?

Welsh. That makes sense. I was reading it as sort of a Russian/Pashto blend. (By the way, is Trus’ name pronounced like “truce” or like “trust” without the t? Is ‘isk’ pronounced the Western way, just as it’s spelled, or does it have the more back-of-the-mouth feel like some other languages, where the the i is less ‘ih’ and more ‘ee’?) How about gramatically; does it follow a western grammar, or more eastern or perhaps Germanic, or like in sign language? 

Oh, gosh, you’re asking me to think a lot more hard about this than I originally did when I wrote the novel! I didn’t do as much worldbuilding on Kalp’s world as I have since done for worlds like the one in The Tales of Kintyre Turn, precisely because I didn’t want the reader to know too much. The point was that Kalp found it all too painful to think about, so I didn’t overthink it myself. (And of course, I’m no linguist like Tolkien or Roddenberry!)

But to answer your questions, I imagined that his language is more like sign language in grammar – encompassing ideas and particular singular meanings that are given grammar by context, usage order, and familiarity with your conversation partner.

And as Kalp’s people have little snouts, I’d say the language is a little more nasal, and probably involves a lot of lips shaping the sounds.

Trus = “trews”


  1. Does Kalp’s society have abnormal relationships? How do they view it when/if only two get together? Four? Pairings of all-same-sex relationships who are thus unable to have kids?

Of course! Though I wouldn’t call them “abnormal” so much as “just not mainstream.” Like humans, like bonobos, like dolphins and penguins, of course there’s a spectrum of sexuality and relationship arrangements.

However as biological sex is a lot more complicated in Kalp’s people than it is in ours, no arrangement of sexual partners is ever biologically “unable to have children”, unless there is a medical reason for sterility. (Or a personal choice to use contraceptives.) There are Those Who Can Get Pregnant and Those Who Can Impregnate, but even that can shift, and alter, and is a finer line that it is here.

If an Aglunate of all one biological sort, their biology is adaptable enough that with some medical intervention, it could happen.

I wish I could live in that sort of society. As a queer transman, it sounds utterly ideal.

I wish we could a live in a society where any and all arrangements of romance, affection, gender, and sexuality are accepted and medical science is able to easily and freely help people have the bodies they know they are meant to have.


  1. This was your first book, right? Were you worried about writing about material that isn’t really socially acceptable, such as poly relationships, bisexual/homosexual characters, interspecies relationships, things like that, for your first book or even in general? 

To be honest, I wasn’t thinking about the marketability of the subject matter when I wrote the book.  The book evolved slowly, so in the first version of it (published as a novella titled (Back)), there was no interspecies relationship, no bisexuality, and no poly relationship. When I began to expand it into a novel, a friend who’d read the original novella actually said, “Wait, were Basil, Gwen and Kalp F@#$ing?” And I was like, “Wait, what? What?… um…  yes? Yes! Good idea!”

I was more concerned about telling the story, and being true to the characters and the narrative, than the subject matter.

Having said that, it was also important to be to be respectful of the issues and topics that DID end up as part of the narrative through the organic evolution of the revisions. I did a lot of research, asked questions in the community, and read books.

Whenever I decide to include things that don’t fall within my own personal lived experiences, I always do very careful research and make myself aware of the negative stereotypes and pitfalls inherent in including them in my work. And if my best isn’t good enough, I’ll own up to it and invite feedback from people whose lived experiences I’m attempting to emulate in prose.

Do you ever worry about accidentally doing something offensive without knowing? Even with all the research you can possibly do, you can never be sure. I’m writing a book right now myself, or trying to, and I keep getting torn between not having diverse representation, and how horrible I would feel if I accidentally mucked something up. Any advice on this particular dilemma? Like, what to do if it happens (because I know pretty much all you can do to avoid it is research and talk to people.)

Constantly. One of my biggest fears is really effing it up and hurting my readers without meaning to.  My advice in this case is to do your research thoroughly and via lots of varied sources that don’t reference each other, but come from lots of different places. Secondly, ask someone who comes from that community to read the book over, and give you suggestions or point out places where you’re making misinterpretations, mistakes, or accidentally reinforcing harmful stereotypes.

And if you do make a mistake, and are called out on it (even if the book is already published), thank the person, acknowledge the mistake, apologize, and learn from it. Readers are usually very respectful when you say, “Ah, right. I’m sorry. Thank you for pointing that out to me, and I’ll try harder next time.”

But also be aware that sometimes people misread a book.

For example, I’ve had readers complain that there’s too much sex in The Untold Tale for a YA book… but it’s not a YA book. I’ve had reviewers complain that the book was full of spelling and formatting errors, when I stated in my advance coverletter that the version they were receiving was the ARC, and that it hadn’t gone through final line edits yet.  You can be explicit about the context of the book and people can still miss it.

And also be aware that you cannot take “werewolf cookbook” reviews to heart. (These are reviews that are essentially like: “This is an okay cookbook, but there are no werewolves in it. I only like books with werewolves in them, so I’m only giving this cookbook one star.”) Like, seriously? You’re leaving a one star review in the book because it didn’t meet your personal taste? Uhg.

Of course, sometimes there are people who just live to be offended, and no matter what you do or how hard you worked, they’re going to scream and say horrible things about you, and accuse you of doing it on purpose and being a bigot/racist/mysoginist/asshole. And sometimes they will threaten you and say horrific, vitriolic things about you, as Requires Only That You Hate/Winterfox said about me.

And in that case, I say try to ignore them and forget it ever happened. I know that’s actually hard, because it will hurt, especially if the attacks get personal. But remember, no reviewer worth their salt reviews the author – their job is to review the book, and ad hominem attacks are a sign of a cranky amateur. Haters gonna hate, and assholes love to hear the sound of their own voices. Take Elsa’s advice on that one.


  1. How do you feel about people doing art/fanfics of your work? Does it bother your or do you like it? (yes, I’m kinda asking permission. And yes, I do include erotica in that. >///<)

Welp, seeing as I started as a writer in fanfic and wrote my MA thesis on Mary Sues, I think I’m cool with it. I honestly love it, and knowing that my work inspires others to create in their own way fills me with all the warm fuzzies.

You go right ahead and fic/art/smut to your smol heart’s content!

I have more to say on that here, and here, and here.

The only caveat is this: if anyone is writing fic of something I’m actively working on – like The Accidental Turn Series  – for example, I can’t read that, unfortunately. It’s for legal reasons, so there’s no chance I could accidentally steal an idea, or be accused of it later. You can tell me about it. But I can’t read it. Not yet, anyway.

But for anything else, I usually read the fic, or at least skim through it, and I definitely love the fanart, comics, and cosplays. I have a wall in my office filled with fanart that I’ve printed out and framed.

I find fanworks flattering af, and if you tag me/ping me on them, I’d love to see/read/adore it.

Here’s me on tumblr, and on A03, and here’s A03’s Triptych tag.

In that case, I went ahead and posted a quick doodle of Kalp on my tumblr. I don’t know if that’s really what he looks like, but I tried!

OMG! Lookit at the wee Kalp, everyone! Look at its perfection!!

Kalp by Red Dog Reid

  1. Can you suggest any other authors for me to read who write things like this, things that go outside societal norms without making it disrespectful or offensive or a joke or queerbaiting or, well, all that?

Oh, easily!

Jennifer Roberson, Octavia E. Butler, Ursula K. Le Guin, George Sands, James Tiptree Jr., Anne-Marie McDonald, Margret Atwood, Julie Czerneda, Tanya Huff, Ann Carson, and if you’re feeling like some good old fashioned ancient Greek comedy-erotica then Petronius’ The Satyricon is hilarious. Also check out the Lambda Literary Awards, James Tiptree Jr. Awards, Gaylaxian Awards, and the Bi Writers Association Awards for reading list suggestions.

I’ll try them out, thank you!

You’re welcome! Happy reading.


  1. What made you choose a triptych style for the book? Why did you decide to start in the middle at the beginning? 

The format of the story – and indeed, the title – grew organically out of the narrative. I wanted to tell Gwen’s story, but from the POV of the people who mattered most to her.  The original novella was written from Evvie’s POV, and Evvie’s section, so that left her boyfriend/husband and (later, when I decided Kalp would be in a relationship with them) her lover. That made three, so I decided to write three novellas, three separate tales from three separate voices. And what’s a word for three separate panels that combine to form one piece of art? A triptych! I actually struggled about whether to include the prologue and epilogue, but in the end, the story really did need those two extra snippets at the house, and on the farm.  In the end I appeased my artistic sensibility by at least keeping the book in three POVs, if not three parts.

We’re always told to start a story in media res, or in the middle of the action, not in the lead up. And I decided to tell the story chronologically by year, not by narrative experience. That’s always a choice you have to make when you’re telling a time travel tale – which order do I tell the story in?

In the end, when I had to add the prologue and the epilogue, I thought it would be really nifty to literally start the story in the action, and at the climax, when the bullet leaves the barrel and the body hits the ground. It was a bit of a bold storytelling choice, and it took some finessing to make it function, but I’m proud of it. And yeah, it is the kind of narrative trick that, again, only a time travel story would let an author use.

I like the inclusion of the epilogue and all, I think it works well. And the first line was actually what made me pick the book up; such a bold choice really made the book seem interesting from the get go, no slow starts there!

Awesome, thanks!

  1. Do you think that Kalp would be considered some sort of non-binary gender, though he uses masculine pronouns? Or is he a cismale but doesn’t conform to traditional western gender norms?

Kalp’s sexuality and gender presentation isn’t really on a binary, it’s more of a … wibbly-wobbly gender-wendery ball of stuff. Obviously there are biological differences between Those Who Can Get Pregnant and Those Who Can Impregnate, but it’s less delineated than it is here, and gender presentation, especially on a binary, is unheard of in his culture.

Kalp’s people were introduced to the concept of gender when they arrived on Earth. They are baffled by this need to separate based on biology. What do your genitals have to do, after all, with who you choose to love, the media you choose to consume, the employment you can take or are suited for, the colours you prefer, and the toys, games, and entertainment you enjoy?

Kalp’s people had the option to choose to identify themselves as either male or female, but some also chose to identify as both, and some as neither. I imagine Kalp took an online personality quiz with a title like “Can We Guess Your Gender Based On These 30 Awesome Questions?”  and based on that said, “Right, yeah, okay. I guess I’ll pick male. It’s simple to the point of being insulting, but saying ‘male’ is the least incorrect.” Kalp is a One Who Can Impregnate, and he works in the sciences, so according to our narrow Earth designations, that makes him more male than female. (But he also likes domestic tasks like cooking, he enjoys tidying, and he was really looking forward to being a parent.)

So he’s neither cismale nor does really consider himself male. He just chose the pronoun for the ease of communication. He isn’t really on the gender spectrum, either, because his people have no spectrum. They just are.

So, he chose male because English often demands that speaker does so. It was a communication shorthand. Not because he is “male” in the way we understand it.

Do they have words in their language for One Who Can Impregnate and On Who Can Be Pregnant? 

I’m sure they do, but I haven’t made any up.


  1. Does Kalp hate heights in general, or did he just panic because he was in something that reminded him of the escape pods?

Kalp doesn’t have any particular issue with heights. Most of the dwellings on his homeworld were built amid the trees, so he couldn’t. He just flashed back to the escape pods and couldn’t handle the PTSD episode it brought on.

That panic attack was really well done, too. A lot of people exaggerated them, make it cliche. You didn’t do that. It was really nice.

Thank you. I’ve only had one or two in my life, but one of my former roommates used to have them a lot, and I remembered sitting up with her sometimes and talking her through them. I also know other people who get them, and spoke to them about what they felt and how they experienced the panic. I wanted to make sure it was authentic and an honest portrayal.

More questions! (If you don’t mind? Sorry, I’m a little over-eager; I’ve never actually been able to talk to an author before!)

I don’t mind at all. I think every author likes to talk about their worlds and characters. 😀 We don’t always have the time to do so, but we love it when people love our worlds, and characters, and our work.


  1. What are the sorts of physical differences one sees in the species from different regions of their home planet? Accent differences? Cultural?

    Generally speaking, fur colour varies, just as human melatonin distribution varies, based on proximity to the equator. Greener near the rainforests, bluer nearer to the ice. There were only two continents, and of course there were cultural and linguistic differences between the continents. They’re probably quite varied, like the difference between Japanese Shinto culture, and Muslim Islam, and European Judeism. Though Kalp’s people weren’t particularly religious, there was a great deal of ritual, social hierarchy, non-verbal gestures with the hands and ears, and a rich culture of cuisine and storytelling.

Kalp mentions in the book that stories start differently on “the other continent”, but on his they start, “In a place that is not here and a time that was not now,” (or something to that effect, I don’t actually recall how it went). Again, this is one of those worldbuilding questions that I never asked myself, because I wasn’t writing about the differences between the cultures.


  1. How do Kalp’s limbs work, with the extra joints? A fluid bend? Like the tail of a monkey or cat, lots of little bones/joints? Are their legs different, three-part like a human’s, since it’s refereed to Kalp having knees? It’s always noted that he spreads his toes when he walks; is his species plantigrade or digitigrade?

    Rather like a monkey’s tail, I would say, though there are major joints amid the minor ones that humans called knees and elbows for ease of reference.

    I had to look up what plantigrade or digitigrade mean:

    And the answer is… kinda both? It’s Digitigrade, but not to this extreme degree.


  1. What’s the name of their species? How they refer to themselves and/or a name humans have given to them. They can’t just be refered to as “the aliens”, right?



  1. You’ve written a lot since this first novel. Looking back, is there anything you would change if you could rewrite it? 

There’s little I would change, but I would maybe choose to have written the whole book from Kalp’s perspective and involve more reference to his culture and history.

The one thing I really regret not doing is making the human character’s varying ethnicities more obvious.  I hate saying “so and so is Black” or “so and so is Asian” because, of course, no one ever says in fiction “so and so is White.” White is the assumed default. I thought I left enough clues in the narrative by using non-European family names, and little hints, but I guess not. Many people assumed the characters who were not-white were in fact white, and I got a lot of crap about making a world-wide organization “filled with white people”.

It’s difficult to figure out how to balance the twin desires to have a wide variety of representation and not be pedantic, self-congratulatory, or condescending about describing everyone’s skin tone.


  1. How did you deal with the language? Do you have more words in their language that weren’t added to the book itself, like if you came up with the language beforehand? Or was it more a situation where, when you found something you wanted to add Kalp’s word for it in, you figured that out on the spot? 

Ah… this is a bit embarrassing, but most of the words in that language are taken from things that were around my desk as I was writing. At that time, I was in grad school so most of the words are acronyms for academic grants that I didn’t get. 😛


Thanks for the Questions, Red Dog! Does anyone else have any more questions?

JM FreyQuestions from Fans – TRIPTYCH
Read more

Words for Writers: Why Is Fandom Important?

In honour of INTERNATIONAL FANWORKS DAY, I am reposting my article on why I love fandom!

This was originally posted at, now

Photo by Francis Baker

Photo by Francis Baker

Authors need fans, right? Sure we do – we need people who like our books, our writing, who recommend them to other people, who spread buzz and vote for them, who defend them and squee over them, who recommend them to their librarian and give them as gifts. We need fans, at the most basic, to buy and read our books or we couldn’t afford (financially or emotionally) to write more.

But what about fans? I’m talking the come-to-every-event-you-do, attend-every-signing, write-fanfic, build cosplay, analyze-the-crap-out-of-your-work kind of fans. Do we need those?


And I love you, too. I love you guys a lot.

Let me tell you why I love you – and why many authors love you too.

I was Once One Of You

  • I’ve said it before, and I’ll say it again: Fanfiction was my novelling training wheels.
  • You encourage new creatives to take chances with their work, to stretch and grow, to learn, to explore. More than that, you encourage us toshare, which is sometimes the hardest part of writing a novel or making a piece of art.
  • You teach writers how to take praise, how to take critique, how to edit and how to build character and worlds and narratives every time you leave feedback.
  • You provide a safe community in which to explore creativity.

…And I Still Am.

  • I read fanfic constantly. I call it my “comfort food” because I already know I love the worlds I’m about to spend time in, already know I love the characters. It’s a safe, wonderful, happy, glowy kind of coming home but I get a brand new story/idea/AU/world.
  • I still cosplay, when I can get away with being a professional guest in costume at Cons.
  • I still roam Artists’ Alley and drool and buy way too many prints and bookmarks and buttons and cool things, because they are innovative, and beautiful, and fun, and for just a moment creates a thread of mutual understanding, respect, love of the media text, and a tingle of creativity passes between me and the artist/vendor.
  • I still think like a fan – every story I create I approach with a fanficcer’s mindset: “How can I tell this from a new angle? How can I use the traditions, the clichés, the assumptions to push against the envelope of the narrative? Whose voices are missing and how can I give them the center?”

I Have Met Some Of My Best Friends Through Fandom

  • One of my best writing friends was my fanfic crossover co-author, and I’ve to date never met her in person, but I’ve known her for about 15 years. We have cheered on each other’s pro careers, edited each other’s books, and supported one another for literally half of my life.
  • Some of my very good friends IRL I met while at Cons and while cosplaying.
  • I met pretty much every other pro writer friend I have at conventions
  • I sold my first novel at a convention.
  • I made very good friends at university by introducing people I liked to cosplay and fanfiction and working with them on fics, art, and costumes; then I dragged them to cons where some of them are now professional creative, too.

You Are Unabashedly Passionate

  • You have the guts to wear the proof of your passion on your person: to cosplay, to wear tee-shirts, to attend cons, to get tattoos, to style your hair or your wardrobe as a tribute to your favorite characters.
  • You spend hours, years, and sometimes a significant amount of money creating things based on other creatives’ works
  • Really, Simon Pegg might have said it best.

You Are Smart As Heck

  • You build communities like those Archive of Our Own, Tumblr and Deviant Art.
  • You do good deeds in the name of the writers, actors, and shows that you love –David Hewlett’s Squirrel Army all donating to Medicines Sans Frontiers for his birthday, or the charitable deeds of the Browncoats, for instance
  • You parlay your love into degrees, courses, conferences, academic readers, and text books
  • You call out work that is problematic and encourage creators to grow, to learn, to take an interest, to get better.
  • You find things in my work that I might not have realized I put there and you play with them. It’s incredible.

You Are the #1 Best Form of Advertising

  • The best kind of advertising in the world is a friend or family member or teacher or librarian handing you a book and saying: Read this. Trust me.
  • Crossover fanfiction is what got me into like, 90% of my fandoms.
  • You tell the book stores about me, and demand that I be kept on the shelves.

You Are Hella Supportive

  • You buy everything I write.
  • You come to every signing, every reading, every pubnite.
  • You come talk to me and tell me what you loved (and didn’t love).
  • You ask questions. You force me to ask questions of myself.
  • You ask me to come be a guest, a guest of honour, a judge, a participant, a contestant, and interviewee, a guest star, etc.
  • You invite me to submit to newsletters, journals, magazines, anthologies, and blogs.
  • You interact with me on social media.

And You Are Vocal About It, Too

  • Fans send letters to magazines, to film executives, to bands, to playwrights, to graphic novel creators, to other creative and say Have you Read this? You should totally do something with this. You make other people pay attention to me and my work and you help forge connections.
  • You tell people on Facebook, on Twitter, on Tumblr, on Pinterest,everywhere what you love and why you love it.

You Keep Me Accountable

  • You make me think of things that I might have missed, critique what I’ve published in ways that helps me be more thoughtful and more compassionate with the next book and characters, and you point out flaws that I didn’t see before, and never know I had.
  • You ask me when my next book will come out, remind me that there are stories that I promised, and help me stay on track if I start playing around on social media too much.

You Keep my Worlds and My Characters Alive

  • You write fanfiction, fancomics, build cosplays, and make fanart and fanvids that breathe new and continued life into my work.
  • You write the scenes and/or plug the gaps that I had to leave off screen for logistics or narrative reasons (and usually with way more imagination that I would have!)
  • You psychoanalyze my work and find things in it that I hadn’t realized I put there. You make the characters realer, their reactions more human, and you teach me, in breaking apart my work like this, to do it for myself and to really craft my characters with the same care you take in studying them.
  • More importantly, when I hand in my novels for the last time for publishing, the world becomes closed to me. I can’t change anything, play with anything, push and pull and turn it on its head and play with dynamics. But you can and you do.

You Tell Me How Much My Hard Work is Appreciated and Loved

  • You leave reviews on Amazon and Goodreads that make my heart soar. Or make me think critically about the choices I made and consider how to do better next time.
  • You post your art or pics of your cosplays online and make sure I know how hard you worked on them. (And I know, oh, I know.)

And most importantly:

You Engage in A Dialogue With Me About My Work

  • Every fanwork you put up is your response to something that I said or did in my book. I have offered the opening and this is your reply. And the conversation is marvelous.

To close, a lovely quote on fanworks by Ruthanne Reid:

“When you create a new world, a new story, it’s like you’ve just built a brand-new playground. Other kids love it so much that they CHOOSE to come and play in that one with you. When you lock them out of fandom, you’re sitting in it all by yourself, wondering why the other kids don’t want to sit outside in the grass and watch you play.”


For more posts on the business and craft of writing, search my Words for Writers tag.

JM FreyWords for Writers: Why Is Fandom Important?
Read more

A Summary of My 2015

I wrote two novels, a novella, a few shorts; two novels I wrote launched; five anthologies in which I had shorts or essays launched; I signed and announced two new book series (whaat??); got injuries that I am still recovering from (come on, me, being immobile is so 2006); had my heart absolutely crushed to sludge twice; moved back home with the rents (best. roomies. ever.); made my comic-writing debut; and made some amazing new Tumblr friends that I adore to pieces (one of whom just proposed to me last night. I’m moving to the Deep South, y’all. I hope she realizes that I’ve decided her joke was serious. :p ).

So in short: I’ve had lots of amazing things happen on the professional side, some really awful stuff happen on the romance side, so absolutely crappy stuff happen on the health side, and have had some amazing friends and family helping me through it all. Really am blessed in that category, and I won’t forget it.

Now onto the granular breakdown:


  • Announced that my two comics “Bloodsuckers” and “Toronto the Rude” had been accepted into Toronto Comics Vol 2. (I got a great pair of illustrators assigned to my stories, too!)
  • Midway through the month I took a slip on the ice outside of my house and (though I didn’t have a full diagnosis until November) herniated a disc, got micro-tears in the muscle of my back, wrenched my knee, tore the muscle at the top of my ankle, and tore the squishy stuff in the socket of my hip. Slept for the rest of the month with the really good drugs.





  • Unable to work full time due to my injuries, I moved home to live with my parents, and focus on getting better and meeting my contracted writing deadlines.






  • Attended EerieCon17
  • The War of the Worlds” happened, and I realized I was really, really not healthy enough to be treading the boards yet. It was interesting and extremely painful.
  • Began writing “Untitled Geek Dating Webseries Screenplay: Season 1”
  • Second round of edits for “The Untold Tale” begins


  • NaNoWriMo: wrote two short stories,one novella, and finished writing “Untitled Geek Dating Webseries Screenplay: Season 1”
  • Wrote and Launched “Ivy”, an Accidental Prequel
  • Finally got all the diagnosises for my slip and fall. Have now had enough MRIs and XRays to glow in the dark.
  • Finished line edits for “The Untold Tale”



Goals for 2016

  • Finish a short story for Peggy (so close to being done!)
  • Finish the second Accidental Novella (so VERY close to being done!)
  • Write two more Accidental Shorts
  • Write “Untitled Geek Dating Webseries Screenplay: Season 2” (And possibly 3, we’ll see.)
  • Write “The Silenced Tale”
  • Assemble all my Peggy Barnett short work into a short story collection, add a few new stories
  • Be faithful to my diet and loose some of the weight that makes my injuries worse
  • Walk every day, or ride my Recumbent Exercise Bike

Goals for 2017

  • Publish the Peggy Barnett short story collection
  • Write “The Skylark’s Search”
  • Write “The Skylark’s Sacrifice”
  • Finish some short stories set in the Skylark world
  • Be faithful to my diet and loose some of the weight that makes my injuries worse
  • Walk every day, or ride my Recumbent Exercise Bike
JM FreyA Summary of My 2015
Read more

Post the First Sentences of Your 10 Last Stories and Search For Patterns

I was tagged in this challenge on Tumblr, and because I’m super curious about this, and I wanted to do this for both my fanfic AND my original fiction. I wonder what patterns there are (if any), and in what way they will emerge.

Fan Fiction:

“What?” Dum Dum asked, prodding his seatmate in the ribs with his meaty elbow for the umpteenth time. “Seriously, Falsy, what?” (The Driver)

Mark nodded without looking up, bent to shovel. “If it’s hard on yer back, you could feed them instead.” (Basil and the Bales)

There was a time, Myrddin mused, that he would have been inclined to reach out to the horizon and murmur a soft spell, just to make the sun linger a few seconds longer on the horizon, just to treasure the rich red hues and the marvelous indigo that spread like an exhaled stain across the tops of the far mountains. (The Once and Future Kingdom)

Carson Beckett poked his head into the primary astrophysics lab hopefully, and sniffed the air. “Oh,” he said softly to himself when he realized it was empty and the enticing scent he was searching for was not there. (Five Times Doctor Rodney McKay Was The Topic of Conversations He Had No Idea Were Going On)

Johnny Sheppard was born when he was ten years old. Or, one hundred and fifty seven years old, depending on how you wanted to count it. (Flight)

I am wrongways up, and it hurts. My swimming pool has leaked all over the cloister again, and the bottles of the library books are akimbo on their shelves. My Time Lord is not within me. I moan, wheeze futile, and then open my external scanners wide, and search for the two Hearts I cradle within my own. (Not The Doctor I Was Expecting)

Kalp is uncertain, but his employer says that the dark blue of his work apron makes the green striation markings around his eyes and mouth attract attention. (Trenti)

On Christmas morning, John unwraps a big box. That’s what it looks like, anyway, and it’s from the Millers, even Madison. John is too excited opening the present to stop and read what the box says, but Rodney sees enough through the flashes of garish paper to make an educated guess at the contents long before John can sit back and take it all in. (Mondayish)

Jack Harkness was reminded of the children’s book he had seen in Gwen’s apartment. “Alexander and The No Good, Terrible, Very Bad Day”. Or something like that. What-fucking-ever. (Respected II)

When Johnny Sheppard was six years old, he begged his father for a toboggan for Christmas. He got an algebra set. (Tobogganing)

Original Fiction
(already-announced projects only, I’m afraid…)

Once upon a time, when we were all Bella Swan, my first crush was a sarcastic know-it-all Immortal named Methos. (“How Fan Fiction Made Me Gay”, The Secret Loves of Geek Girls)

The envelope from Elgar Reed came a few months after Alis’ first birthday. (The Silenced Tale)

The first indication that something was off was the phone call from the Smithsonian Museum. His typewriter, the old race-car red Olympia De Luxe his aunt had given him in the late’ 70s, had been stolen. (The Wondrous Woes of the Writer)

The air above the barn rips apart, wind against wind, power thrust into the multitudes between of the skies and raking through the void. Feet braced apart, bracketing the barn’s peak, a slight woman reaches into the sky and slices again. (The Forgotten Tale)

Once upon a time, oh yes, so very long ago, there was of course a lovely girl who came to learn to sew. (The Dark Lord and the Seamstress)

Creepy bastards like this always go for the eyes. Bevel doesn’t know why. They just do. (The Garrulous Ghost of Gwillfifeshire)

When I catch sight of the cart and its cargo approaching through the thick glass of my study window, I assume the body in the back is a corpse, brought to me for study and then burial. But no one handles a corpse with such care, and driver is directing the horse to travel slowly, avoiding each hole in the dirt road. (The Untold Tale)

In Saskwya thievery was punished with the forceful, bloody removal of a thumb. This was usually done on the spot by the soldier who caught the perpetrator and with whatever sharp implement they happened to have at hand, clean or not. Robin Arianhod still had both of her thumbs. She was thankful, because she couldn’t have picked the lock on the factory door if she had been missing them. (The Skylark’s Song)

When Mary comes to, she is lying face down in the grass beside the road. (The Dark Side of the Glass)

A body collapsing with no muscular control onto plush carpeting makes a kind of muffled thudding, all raw meat and cut strings. (Triptych)


So, do you see any patterns? Let’s discuss it in the comments!

JM FreyPost the First Sentences of Your 10 Last Stories and Search For Patterns
Read more